Jigsaw – Sky High

Jigsaw – Sky High

by Pete Clemons

It was November 1975 and it was only Olivia Newton John and Elton John who were selling more British singles in the United States than Jigsaw were. Yet Jigsaw were still under the radar in most of the UK.

Despite their single Sky High climbing most of the world's music charts it was largely ignored by the British music press. A fate, the band said at the time, that had been happening to them for the past seven years.

Admittedly it had taken a monster, all action, Kung Fu film to put things right.

'The Man From Hong Kong' had given this four man Midland group the recognition that they had been after for so long.

'It's quite a story how we came to record the theme music' said Clive Scott the band's then 25 year old keyboard player and co-writer.

'The film had been completed but the distributors had wanted a pop single to go with the picture to help publicise it and MCA didn't think the existing theme music was strong enough'.

'Both David Essex and The Four Tops were approached but due to contractual difficulties they couldn't do it and it was nearing the time for the films release'.

'We were asked to write and record the music and we had only three days to get it all together. We made demos of two songs and the next day recorded Sky High' he added.

But this isn't Clive's first success as a songwriter. With partner Des Dyer, who was Jigsaw's drummer and lead vocalist they were responsible for Candlewick Greens hit 'Who do you Think you are' which also made waves in the American top ten by way of Bo Donaldson and the Haywoods.

'Though we just finished our fifth album and have been together since 1968 you would be surprised what one hit single can do' said Dyer.

Jigsaw had quite a following in Coventry and Warwickshire area and often played Mr Georges Club in the city centre. However during one gig, and with increasing interest in the band, by 1975, the doors were closing early as the venue quickly reached full capacity. With that particular gig being midweek this was an uncommon event.
Des Dyer continued 'it doesn't matter how long you have been around without getting that illusive hit you've never made it. Whereas we thought everyone in our home town had heard of us it appeared there were thousands that hadn't'

Lead guitarist Tony Campbell took up the story. 'We're obviously being offered bigger and better concert gigs now that we have had a hit record. We are fully booked up until Christmas and we plan to play all those dates and not let any drop'.

'Though we were clever enough to have a rider in the contract that if the disc was a hit and we had to go over to America to promote it then we would' adds the bands remaining member, bass player, Barrie Bernard. 'Of course, when we get back we will honour any outstanding gigs'.

That American visit was due at the end of November. Though Jigsaw will be doing two major concerts a tour has not yet been set up. It'll be a short promotional visit to help Sky High get nearer to that number 1 spot.

And then during December it's off to Australia where the record has got to that covered top spot already.

'Something I've always wanted to do is spend Christmas Day on Bondi Beach and now we will be doing it' says Tony.

So after seven years since Jigsaw were put together have the group achieved what they set out to get?

'Far from it', interjected Tony. 'Those seven years were only an apprenticeship and it doesn't matter how successful this record is we are very ambitious and want any future discs to be even more successful. And we are optimistic that we can do it'.

'You see, we have an original sound' continued Clive. 'Its certainly not rock like say Led Zeppelin but neither is it pure pop. We are hoping people will judge us in the same category as the likes of Bread'.

'Seven years together has its advantages' adds Des. We already have a very visual stage act worked out which includes exploding cabinets and......

At that point Barrie hushed him up in case he gave too much away.

Coventry Theatre - One Week in 1974

 Coventry Theatre - One Week in 1974

by Pete Clemons

It seems mind blowing when thought about nowadays but it really did happen. Just over 50 years ago, during November 1974 two, then future iconic bands, Queen and Sparks, visited the city over consecutive weekends. Neither band could claim to be the behemoths that they became but, nevertheless, these groups were still top drawer attractions. But here they were at Coventry Theatre as part of a series of Sunday evening attractions.

As time went on both bands broadened their horizons, moving away from a more conventional rock and roll base to creating more quirky anthemic and a sophisticated style of music that attracted a wide range of fans. Rock music with a twist if you like. Both bands were never content to sit on their laurels. They were incredibly forward thinkers.

According to a review that accompanied the Sheer Heart Attack LP that they were touring, 'Queen were now one of the most popular bands around. With this LP they prove their maturity with a melodic ever changing album that runs the whole gamut of pop'.

And it was true as Queen brought with them an energy and a very rich and powerful performance. They were lauded at the time for their high-quality audio and visuals, particularly by early Queen fans, and this highlighted their early hits and heavy guitar rock style.

The concert includes iconic tracks like 'Keep Yourself Alive', 'Now I'm Here', 'Killer Queen', and 'Seven Seas of Rhye'. The gig showcasing their early sound. There was fire and passion by way of Freddie Mercury's vocals and Brian May's guitar solos shining and, of course, a dynamic rhythm section.

Speaking after the tour Brian May mentioned, 'we knew songs like Killer Queen would be a hit because its got going on in it. Freddie is very fond of cabaret so we all got into that on Killer Queen. But I don't think that's the way the band is going. We are going in lots of different directions at once'.

Sparks' live performances in 1974 were a unique blend of musical innovation and theatrical flair, characterized by their quirky stage presence and distinctive sound. The band, led by the Mael brothers, Ron and Russell, gained significant popularity with the release of their album Kimono My House released earlier during 1974, and their live shows reflected this shift towards a more mainstream audience.

Ron and Russell Mael, particularly, stood out with their distinctive appearances. Ron's Chaplinesque moustache and serious demeanour, while Russell's energetic bouncing and androgynous style, created a striking contrast that captivated audiences.

Sparks' music, though influenced by glam rock, incorporated elements of art rock, pop, and even disco, setting them apart from many of their contemporaries.

Their breakthrough hit 'This Town Ain't Big Enough for Both of Us' and the album 'Kimono My House' propelled them into the UK charts, leading to a surge in popularity and larger live venues.

Propaganda album had just been released to glowing reviews. 'If you liked Sparks last album [Kimono my House] then you will certainly go a bundle on Propaganda because where Kimono lacked depth, grace and musical fluency, Propaganda flows, reels and rolls with all the daring audacity of a Moulin Rouge stripper' said one.

Both albums mentioned offers a valuable glimpse into Sparks' live sound in their mid-70s prime, especially given the band's influential status

Finally, and for completeness and balance, the remainder of those November's Sunday concerts at Coventry Theatre was completed by Ray Conniff, The Syd Lawrence Orchestra and Jack Jones.

Coventry Area Folk Clubs 1969

 

Coventry Area Folk Clubs 1969

by Pete Clemons

I recently came across a newsletter for freshers to Coventry from 1969. Within it was an article about the various folk clubs around the region at that time. Hopefully it will bring back a few memories.................

Over the last two years the Sunday night Folk Concerts have become one of the most popular institutions in the university sector.

With this in mind, three acts have been booked for the 'Freshers' weekend concert at Warwick Uni on Sunday night. The Strawbs will already be well known to many of their audience. They have performed here more than once and are becoming very well known throughout the country, through their performances, radio programmes and their very successful LP. The three original members have recently been joined by a girl cellist, so it should be interesting to hear the group in its new form.

Car drivers, Londoners or Strawbs addicts may be interested to know that the group now run a club in Hounslow every second Tuesday, with a wide variety of artistes

Tea and Symphony are a less well known group who have also been heard a lot on radio recently and have issued an LP. and two singles. Between them they play a vast range of instruments and have been described as something like a cross between the Incredible String Band and a jug band.

Finally for the beer drinkers and chorus singers, there is Ray Fisher, a long established traditional singer from Newcastle.

Those with a serious interest in Folk Music will no doubt want to visit some of the clubs in the surrounding area and real addicts will be able to find something on every night of the week.

On Monday there is the 'Village Pump' Folk Dance and Song Club (at the Bulls Head, Binley Road, Coventry). This is a definite must for folk dance fans but not for those who like a sit-down-and-listen type of club.

The Boggery Folk Club in Lugtrout Lane, Birmingham, meets several nights a week and is one of the smokey, beery, chorus-song type of clubs. On Tuesdays, 'Tuesdays People’ meet at 'The Factory', in Gas Street, Birmingham. It has a cabaret atmosphere and is slightly pretentious, with big-name artists. It's residents are the Heart of England and the Couriers and it is run by Mike Lloyd of A.T.V. John Betmead, a performer there summed it up by commenting, "Last time I sang there it was a folk club''.

The Cedars Folk Club meets on Wednesdays in Barker Butts Road, Radford, Coventry, and is Irish. The 'Rooster' club meets on Thursdays in the Biggin Hall, Binley Road, and is fairly new with enough backing to book big names like Derek Brimstone, Jerry Cochran, Magna Carta. Contemporary fans, especially should visit it.

The Red Lion in Stratford is closely connected with the Heart of England group. On Friday's there is the Mercer's Arms, Swan Lane, Coventry (near the football ground). It has some of the best guests but is a bit noisy.

The Fox and Vivian, in Leamington, has as its resident the one and only, your friend, Ron Healey and if you don't yet know him you soon will. It is shabby but cosy, crowded and has a great atmosphere.

The Coventry Folk Club, Gosford Park Hotel, meets on Saturdays and relies mainly on local talent. The Denbigh Arms, Monks Kirby, is 15 miles out in the wilds so it is as well to find out who is on before going. It usually has a well-known guest and its residents, The Gaels, are one of the best local groups.

If you get pissed off with the University club on Sundays, try the City Arms, Earlsdon but check who's on first and get there early. Apart from 'The Factory' which costs 10/6d, to join then 10/6 each evening, most of the clubs charge less than 5/- member- ship and even cheaper entrance. They generally advertise, in the Coventry Evening Telegraph or Birmingham Evening Mail, on the day of performance.

The University Folk Club hopes to be able to provide some kind of information service about the clubs and their guests.

Pink Floyd at Pompeii – Coventry Theatre 1974

 

Pink Floyd at Pompeii – Coventry Theatre 1974

by Pete Clemons

2025 has seen the return of the groundbreaking 1972 film Pink Floyd at Pompeii. Although now titled Pink Floyd at Pompeii – MCMLXXII.

This new version has been digitally re-mastered in 4K from the original 35mm footage with enhanced audio.

Those who remember the film will be familiar with its setting in the hauntingly beautiful ruins of the ancient Roman Amphitheatre in Pompeii, Italy.

The film captures Pink Floyd performing an intimate concert without an audience filmed over four days during October 1971. There they performed unforgettable tracks such as “Echoes,” “A Saucerful of Secrets,” and “One of These Days.”

The breathtaking visuals of the amphitheatre, captured both day and night, amplify the magic of the performance, creating a unique and immersive experience. Additional footage filmed in a Paris television studio the following December was added for the original 1972 release.

The film was scheduled for a special premiere at London's Rainbow Theatre, on 25 November 1972. It was cancelled at the last minute by the theatre's owner as they didn't have a certificate from the British Board of Film Censors and the theatre could be seen to be in competition with established cinemas

After that stalled release the film was eventually premiered on 10 November 1973, at the Alouette Theatre in Montreal. General release and screening took place in the US during April 74

It was then re-released into the UK slightly later in 1974. By this time it had been furnished with additional behind-the-scenes glimpses of the band working on the then forthcoming and iconic 'The Dark Side of the Moon' album. If that wasn't enough interviews captured at Abbey Road Studios, London also enhanced it's eventual release.

As I remember it, demand for the film was huge. So big, in fact, that normal cinemas within the Coventry area were not able to cope. Coventry Theatre stepped in where the film sold out for a week during July 1974. Remarkably, further demand created a necessity to add a follow on second week at the theatre.

This meticulous restoration delivers stunning image and sound quality, featuring a theatrical and home entertainment mix from Steven Wilson in 5.1 and Dolby Atmos. These upgrades enhance the film's depth and clarity while preserving the authenticity and spirit of the original 1972 release.

Inspired by the golden warmth of Pompeii’s iconic setting, the remaster transforms this timeless piece into a masterpiece of sight and sound.

Watching the enhanced version recently had memories of different times flooding back. The music is still magical. The film is not on the big screen for long. Not to worry it will be readily available for home entertainment set ups. Experience Pink Floyd like never before through this pioneering audio-visual remaster!

The Primitives Interview 1991 - at a Freshers’ Ball in Coventry

 

The Primitives interview 1991 - at a Freshers’ Ball in Coventry

by Pete Clemons

Since reforming during 2009, The Primitives have performed in Europe, made several visits to the US and Japan as well as touring the UK multiple times.

November will see The Primitives return to Coventry to play 2 gigs at the Tin on the canal basin. These dates, and the preceding tour, underlines a remarkable 40 years in existence for the band.

And that fact kind of upends the assertion made in the following interview from 1991 that The Primitives were a one hit wonder type band. That said, as you will read, it wasn't a bad interview.

Although they have had a number of hit singles and appeared on Top of the Pops three times the major success of Crash has pretty much left The Primitives in the category of one hit wonders.

They took time out after their sound check on Thursday afternoon to talk to me about the past, the present and the future.

“They only say one hit wonders ’cos it stayed in the top ten for around six weeks — two of our other singles have also got in the top thirty”, P.J. Court, vocalist and guitarist, quickly defends The Primitives’ right to long term status. In fact the band has been together now for six years.

So, how did they first meet? “The usual thing: someone wants a guitarist and I got asked to join — I knew about two chords. The singer left and Tracy joined through an advert,” P.J. explains.

The record deal came later when they hit the top of the Indie charts, as Tracy told me: “We were doing the usual gigs in London where A&R men scout and we had interest from three or four record companies. Obviously you go with the better deal.”

What about the comparisons that have been made with Velvet Underground and Transvision Vamp? “As for the Velvets, it is a bit over-exaggerated when people say I steal all their rifts — there is only one that I actually used, "admits Court," it’s just a matter of influence coming through.”

And so for Wendy James, or “the poor man’s Barbara Windsor ”so P.J. put it, Tracy had this to say, “I think you only have to listen to their records to see that the only comparison you can make is that we’ve both got blond hair. There’s more to us than one of those bands that just has a girl lead singer.”

After major tours in America and Japan, what comes next? “We’re going to be stronger and faster than ever in 1992" promises Tracy. “We’ll be doing a substantial tour and we’ve got a new album coming out in January /February time.” There’s a new chord on this one, confirms P.J., and it’s not from the Velvets.

And what’s going to give them staying power? “We’re believable. When you hear the album there’s really good songs on it. It probably will get in the charts, but we’re not looking for the sort of success we had with Crash - to us that was a bit of a fluke. You’ve got to be true to yourself.”

What about advise for aspiring new musicians at Warwick? “Have loads of money. Decide what you want to be like and have a definite plan. We didn’t really have one and it was all a bit thrown together looking back.”

My overall impression of The Primitives was that they are unwilling to reconcile musical integrity with commercial success, hence, unlike contemporaries such as Transvision Vamp, they have no intention of selling out. Good luck to them.

During 1992, and as indicated during the chat, The Primitives fourth album 'Galore' was indeed released. It was met with positivity.

Coventry’s own Primitives have managed to clean up their live sound without losing the energy of their music. The steady but not lavish drum beat and typical bass lines are swollen under some decent guitar playing. Vocal Harmonies are set above the instruments, producing a sound that’s not so much unique as simply clever. Gems include Lead Me Astray Cold Enough to Kill and the ultimate number The Little Black Eggs. Penultimately Smile reminisces to the days of Velvet Underground. The eye-catching, poppy strewn outer sleeve is fantastic, but the liner notes are conspicuously lacking. The visual quality is there, but it leaves you with nothing to do while taking that all important first listen. This album may be classified by some as Indie - Dance. Although the Indie feel is there, the album, released on RCA, doesn’t quite lend itself to the rave / disco scene. All in all, Galore is a worthwhile record and a worthy successor to the band’s last release, Ravish.

November 1973: New York Dolls

 

November 1973: New York Dolls

by Pete Clemons

Sadly David Johansen, lead singer of the New York Dolls, passed away recently. David had been the last surviving member of the classic line up of the glam and protopunk band. On one of the New York Dolls earliest, and rare, visits to the UK during 1973 they appeared at Warwick University.

Some critics dismissed them as an unserious group of amateurs who could not play or sing while others noted their dress sense and the resemblance of Johansen and Thunders to that of Mick Jagger and Keith Richards.

Guitarist Roddy 'Radiation' Byers was at the Warwick Uni gig and called it a life changing experience. Several students, however, begged to differ. These were different times and the New York Dolls were here to shock and shake things up in every possible way.

The line-up during that 1973 gig consisted of vocalist Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist, pianist Sylvain Sylvain, and drummer Jerry Nolan.

Several previews of the Warwick gig, which – yes – attracted some violence, appeared the nearer the gig approached............

The New York Dolls Yes dahhhlings they're here . Divinely decadent, superbly sexy, long, lean and licentious - dig this, if you can. Not quite drag, as the Dolls would be the first to admit, but certainly a vision out of the ordinaire. A taste for the bizarre? Interested honey? Say, did somebody mention music.....music? "The New York Dolls are trash, they play rock'n'roll like sluts." - Nick Kent. Not much more to say, lovelies. just come and wet your pants to the most outrageous band yet.

A preview appeared on the day of the gig...........

The Final Fall into Depravity It is with grave concern that we have followed the blatant attack on the moral standards of our society in recent years. In an age of declining morals, it is particularly disquieting to see the intellectual cream of the country condoning, and even encouraging moral laxity. The University of Warwick has recently gained notoriety in this respect, by allowing and even promoting entertainment of a lewd and offensive nature. In the past, we have had to put up with corrupt performances by theatrical groups before audiences largely composed of young people who are in the formative period of their life: even nudity and simulated drug-taking has been presented as a form of "art." More recently new depths have been reached.

Information has now reached us that tonight an unthinkable depth of depravity will be reached, when students - in what is supposed to be an institute of learning and education in the widest sense - will be exposed to a rock 'n' roll band 'The New York Dolls'.

This group has emerged from the gutters of New York - the Gomorrha of the Western World. These young men - if we may take the liberty of describing them thus - have the audacity to flaunt their perversions in public and on the stage. It should be realised that these and other groups purposely work towards the corruption of clean and decent youth. If the University cannot keep the Students' Union in check, then it is clear that the Director of Public Prosecution should be informed about this state of affairs forthwith. It is time that those of us who are older and wiser, those of us who have had experience of life, should act to protect the moral welfare of innocent youngsters who cannot yet be expected to judge that which is in their best interests.

After the gig a follow up letter mentioned......The excuse for this was the disturbance on the night the New York Dolls appeared, made by people dressed up in drag and with make-up plastered all over them. You try and tell me that students are supposed to have a higher grade of intelligence than most people.

Pink Floyd – Valentine's Ball, Warwick University, Coventry 1969

 

Pink Floyd – Valentine's Ball, Warwick University, Coventry 1969

by Pete Clemons

After recently watching 'The 14 Hour Technicolour Dream' film for the umpteenth time I have often wondered how many gigs have been long forgotten about over the midst of time.

In order to fulfil that Alexandra Palais gig The Pink Floyd had to be flown in from The Netherlands where they had performed earlier that evening. The 29th April 1967. The date for the Technicolour Dream event was also 29th April but in actual fact they played on the 30th April as the band didn't get on stage till sunrise. They then fulfilled yet another gig later on the 30th.

Bands, especially where the members were young and had a youthful energy and, so long as they had a trusty van, occasionally played a couple of gigs over an evening and early morning.

I take the point that both those dates mentioned above, the one in the Netherlands and the Technicolour Dream, were celebrated events and unlikely to have been forgotten. But had the gigs been more conspicuous then some double date bookings could easily have been overlooked.

A possible point in case:

A Pink Floyd related reference book states that on 14th February 1969 the band played Loughborough. International Times mentioned a Pink Floyd gig for the same day at Warwick University. The reference book suggested that International Times was mistaken.

The fact is, both references are actually correct. However I need to add some providence.

So how could both bands have played the same evening. Look at the finishing time on the advertising flyer for gig. It was 3am.

Not an easy ask but it was not beyond the realms of impossibility to load a van, travel from Loughborough to Coventry, set up and perform a set. As I mentioned, when you are young energy was abound and, lets face it, the late 1960s were very different times. These things happened back then.

How the Warwick University Valentine's gig was advertised.........

Four groups in a single night! Aw, come on... Who'd be so enterprising as to treat us poor students to four groups in one night? They must be awful.

The Pink What ? Floy? The Pink Floyd!! you don't mean that incredible electric deal? You do...........! And who else ? Watsons Harp Booze Band. Steve Millers Blues Band.- Catering for all tastes, eh?

What do you mean not only musical tastes ? Gastronomic. Gastronomic! What do you mean Gastronomic? Ah! Food. Hum. .. Come of it - I can imagine: cheese rolls and gherkins.. . the odd hamburger. You don't fool me, I've seen it all before. Yeah, yeah.

That's what they all call it, "A BUFFET” but it'll be cheese rolls and gherkins. You'll see. Oh no! There'll be meats for every palate, sumptuous accompanying dishes, all the trimmings and as much as you want. All sounds rather good. In fact - With a jazz background as well? Seems to be extra-ordinarily appealing.

On St. Valentine's Day, is it? A Ball on St'. Valentine's Day - a President's Ball on St. Valentine's Day. and only thirty five bob! So where do I get my ticket?

And how it all went........

Ball Breaks Even ! Over four-hundred people attended the IVth President's Ball last Friday. This will mean that the Ball will almost break even -£20 loss at maximum - as compared to a £150 loss last-year.

The entertainments secretary handed over the arrangements for the ball to a private enterprise, who last term organised the first successful dance at Warwick in the shape of the "Pre-1965 Rave".

The first move was to place the Ball ticket selling on a capitalist basis, paying sellers 1/- commission on each ticket. It also granted a franchise for a photographer to preserve the gullible guests' finery for posterity for 2/- a time.

The first crisis came when the "Philli-dogs", one of the Pink Floyd's supporting groups, cancelled with "a broken back axle" a few hours before the start. However, the entertainments team managed to get hold of the 'Playground' who were appearing at Lanchester College with The Who the same night. A good move as the replacement group only cost £30.

The event got off to a very boring beginning with everyone sitting around in the bar feeling self-conscious and uncomfortable in unaccustomed clothes. The buffet meal broke the ice however, (the queue was so long that lifetime friendships were made in it), and Lennie and Grego's cabaret performance went unfortunately ignored in the hubbub of conversation.

Sources of amusement were such well-known Campus bums appeared in suits (the latter in full tails and bow tie). "Best Dress of the Evening Award" went to a student who wore an 18th century courtesan's outfit.

The free punch provided at the buffet was surprisingly weak considering that there was £25 worth of rum mixed with it. The President and other members of the Executive ate a private meal at Union expense and only mixed with the lowly proletariat towards the end of the Ball.

As for the late start to Pink Floyd's set at the Valentine's Ball 1969, well it happened again in Coventry. That night during February 1972 when Chuck Berry was on the same bill. It was well past midnight when they finally found the stage. As I touched on at the beginning. I wonder how many other early morning starts, not by just The Pink Floyd but by other bands, are now long forgotten and possibly lost forever.